#Timeworks mastering compressor vst how to#
#Timeworks mastering compressor vst psp#
#Timeworks mastering compressor vst download#

I'm not a DJ, I play my own stuff, so I can pretty much fine tune every loop to make it sound ok, so clipping and such is not really a worry.Īs for compression/loudness not being important on PA, I'd say I kinda disagree a bit. That's why I'm asking how you solve that for live sets. I don't know if I explained it correctly, but what I'm trying to address here is to tighten up, to 'glue' the different sounds, to bring some extra spark and air, very much like the way mastering does, but for LIVE usage, where the tunes are not complete renders of the music, but rather a set of loops. Is pointless to run every single loop through let's say izotope ozone and then use that for the set.instead of having 'a' big sound, I'll end up with 'a collection of big sounding loops'. Yeah, as I said I COULD give every clip in my set a run through a mastering suite, but the way loudness maximization works really needs to have the whole program material run through it. I found that the little boost it could give wasn't really worth it. So when I used Vitage Warmer, I basically had to reduce the clip gains even further. While this does allow for some extra punch to the sound, it comes at the cost of driving the master channel closer to clipping.

#Timeworks mastering compressor vst psp#

I also tried using some light compression, by running PSP Vintage Warmer on my Master channel. and so this means that for most music I use in Ableton, I must reduce the gains for each clip by a significant amount. I try to avoid this clipping at all costs. then your mixed result is going to be clipped in the master output of Ableton. So if you have 2 tracks which are both boosted to a point just below clipping. When mixing 2 or more tracks, the volume tends to increase as the music combines. Unfortunately, this doesn't work well in Ableton, I have found.

#Timeworks mastering compressor vst download#

and I quickly noticed that most tracks I download from digital websites have been compressed/limited to a point just below clipping. What are you using in terms of plugins as well as external hardware as 'finalizers'.live? I know I cannot sound as tight as a mastered track live onstage, but if I can get close, that would do it. What plugins would do the trick without bringing the CPU to its knees? Loudness maximizing, and giving air, spark, etc? At low latency? Without making me fear of getting hung? Something that would do the trick for a variety of different program material? I mainly use WAVES L1 and Izotope Ozone for studio mastering. One idea is to give every audio track a pass through a mastering suite to make it sound more polished, but that would only do for EQ and such, but to make it sound tight I need the whole mix to go at once on some kind of loudness maximizer LIVE, so I think I need a better idea. This will be the end of this cycle, and it's really important to me.

#Timeworks mastering compressor vst how to#

What i haven't figured out yet is how to make it sound as good as possible (close to mastered) in a live situation so I can 'compete' in terms of audio quality with the DJ gigs (wich tend to sound better because they work with finshed, mastered tracks). I'm working to get them to sound good, doing proper mixing, arranging and stuff.

Some of the tracks are the evolution of ideas that came to life since last year when that first set was started.

Now I'm preparing the next version of my live show. As a result, what that set had in terms of creativity/freedom lacked in audio quality and 'tightness' of the music. The first one was made of mostly in-progress tracks (in fact, many of the ideas/structures/etc where developed though different live gigs/rehearsals), and my goal was to create a more organic experience. I'm currently working in the second version of my live gig.